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I’m as keen as anyone on an existential crisis. Yet this rare revival of a 1912 play by Georg Kaiser — a sort of a Fall and Rise of Reginald Perrin for the German expressionist generation — has plenty of style rather than plenty of substance. Plenty of styles, you might say of Melly Still’s kaleidoscopic production. It starts out with a brilliant depiction of a spectacular but staid city bank, where our hero, an unnamed clerk, stops being a cog in the machine one morning after a moment’s contact with a glamorous Italian woman (Gina Bellman). He makes off with 60,000